Artist rendering of the Brooklyn Bridge Park by the Bjarke Ingels Group (Image credit:New York Times)

Prepare to be amazed, or offended. Lizzie Widdicombe profiled entrepreneur Bryan Goldberg on his latest multi-million dollar start up, Bustle, a news and culture blog written by women, for women. He seems to be an odd choice for knowing what women want: “I don’t have a lot of overlapping interests with most women my age. I’m really into history. I’m really into markets and finance.” [The New Yorker]

“The core questions around the picture have little to do with the rapid technological changes that take place … For this exhibition, I avoided using any recent technology precisely for these reasons.” Beryl Gilothwest interviews Elad Lassry on his just-opened show at 303 Gallery; it’s a good read, if a bit upsetting that he doesn’t identify technology’s place in photography today. [Art in America]

If you’ve spent any time in Chicago, you’re familiar with painter Ray Yoshida who taught at the School of the Art Institute up until 2005. His entire home collection of outsider art, comics, thrift store tchotchkes, and all other types of weird ephemera, is now on view at the John Michael Kohler Arts Center in Wisconsin. [John Michael Kohler Arts Center]

Bjarke Ingels Group (BIG), has proposed building a giant triangular platform that juts out from The Brooklyn Bridge Park. All they need is the Public Design Commission’s go-ahead and $8 million in privately raised funds. This architecture firm makes great projects—let’s do this. [The New York Times]

Time for round two of massive openings. After over a year, CANADA Gallery finally reopens in its new Broome street space, right across from P!. On Thursday night, Chelsea opens. On Friday night, something’s going down at the Redhook galleries, but we’re not sure what. And tomorrow, we hope Cleopatra’s doubles its benefit goals for artist, curator, and Dependent Fair founder Rose Marcus, to help her pay for major surgery–and so do many talented artists who’ve contributed to her benefit auction. All that, and more, after the jump!

The Cat Show at White Columns has everything and nothing to do with cats. Everything, because most of the 134 artworks show cats or cat-related ephemera—like litter boxes, scratching posts, or yarn. Nothing, because the themes of many of these works aren’t about cats at all.

Even though the hum around Armory week seems subdued this year, visiting half-a-dozen-plus art fairs can in a few days’ time can feel like a week on a Eurail pass. Naive outsiders are treated harshly, the food is unfamiliar and overpriced, and you spend a lot of time snooping around taking pictures. It’s useful to have an index that you can depend on to guide you towards the things that are worth seeing and away from the things that aren’t. A guidebook if you will. Here’s ours.

It’s September. It’s time for some art. This week, AFC is going to give it to you Shark Week-style with a preview of the first fall art openings, and every day we’ll give you a new preview based on neighborhood. We’ve chosen what should be good, and what should be on your radar. Today’s post: everything in Chelsea you should know about in the month of September.

The Kitchen has had a good couple of months program-wise. We raved about Virginia Overton’s site specific sculptures. We should have raved about their group show Creative Destruction, because it was one of the best shows of the year so far. Everyone raved over Matt Wolf’s screening of I Remember, A Film About Joe Brainard. We like what we’ve seen.

Accordingly, we tracked down The Kitchen’s Executive Director Tim Griffin and asked him a few questions.